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Chapter 02 | Docks
Chapter 04 | Bazaar
WEALTHY CITY
CHAPTER 01
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Chapter 01
Wealthy City
Chapter 01
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Chapter 01
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Chapter 01
Robh Ruppel
For more from this artist visit:
http://www.robhruppel.com/
or contact them at:
robhrr@yahoo.com
DOCKS
CHAPTER 02
Chapter 02 Docks
Docks
Software Used: Photoshop
Introduction
concept.
perspective.
in 3d.
average person.
The grandeur of the early cruise liners was
something that I had in mind when considering
the type of composition and I decided that the
eye level should be low down to emphasize the
vast scale of the ship that would form the focus
of the image.
Blocking In
I decided that I didnt want to stray too far from
the general design of ships for fear that it would
look unconvincing. Any waterborne vessel
adheres to a few basic principals regarding
the shape in order that it can effectively move
through water and so given this long established
tradition I thought it would be best to stick to it.
I find that with any interpretation of a subject it
is better to start with what you know and then
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Chapter 02
Docks
Chapter 02
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Chapter 02
Chapter 02 Docks
with some structures on the deck and rigging. I
added in some shapes that could become crates
or platforms but at this stage I was not sure.
When painting in symmetrical detail along the
hull it is best to create some shapes on a new
layer and then use the Transform tools to match
the perspective. Scale and Skew are the two
common ones I use but Warp was particularly
useful in this instance due to the curvature of
the hull.
Fig.08 shows the Transform tools under Edit
and in this case Warp which has been used
to curve the vents along the side of the ship.
I made one group first and after duplicating
it twice used the Scale and Skew tools in
conjunction with the perspective grid. Once
experiment.
http://freetextures.3dtotal.com/preview.php?imi=
6141&s=c:Mechanical&p=0&cid=12
(Fig.10).
http://freetextures.3dtotal.com/preview.php?imi=
6144&s=c:Mechanical&p=0&cid=12
http://freetextures.3dtotal.com/preview.
php?imi=7128&s=c:Vehicle_Air&p=0&cid=15
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Chapter 02
Docks
Chapter 02
http://freetextures.3dtotal.com/
preview.php?imi=7191&s=c:Vehicle_
Ground&p=1&cid=15
http://freetextures.3dtotal.com/
preview.php?imi=7195&s=c:Vehicle_
Ground&p=1&cid=15
After all of the detail that has been added from
photos I decided to flatten many of the layers
to keep the file from getting too complicated.
These have now been merged with both the
color and original tonal layer (inset top left
Fig.11).
The background on the right is looking a little
empty and so I created an abstract shape that
could represent a large crane or something and
then duplicated it twice before scaling it to match
the perspective. I kept this on a separate layer
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Chapter 02
Chapter 02 Docks
for the time being as well as adding a new color layer set to Soft Light to
You can see the layer structure here with the Adjustment layers and
change the hue of the top of the boat which was too blue.
a further sky layer which I used to add a blue mainly to the upper left
(Fig.13).
Refining
At this point the detail in the image was at a reasonable stage however
to darken everything slightly and Color balance to add some warmer tones
the color scheme seemed a little drab and washed out; fine for a foggy
day but not what I had in mind. The composition was also troubling me
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Chapter 02
Docks
Chapter 02
Richard Tilbury
For more from this artist visit
http://www.richardtilburyart.com/
or contact them at
ibex80@hotmail.com
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Chapter 02
SLUM CITY
CHAPTER 03
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Chapter 03
Slum City
Chapter 03
believable.
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Chapter 03
(Fig.11).
it glow (Fig.12).
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Chapter 03
Slum City
Chapter 03
(Fig.15).
structured.
Not sure what exactly it is but I want to bring
some quirky menace into the piece, so I throw
this arm coming off top of the screen to visit
Johns Fish Emporium. I make sure its reflecting
the light from all of the surrounding sources well
enough to stick out. Things are getting rather
cluttered and its becoming a balancing act
between detail and clarity for me.
I also include happy patrons at Johns; obviously
one of them has seen the arm, but whether or
not hes ridged like that because hes pooping
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Chapter 03
know.
(Fig.17).
playing-ruffian-master-painter.
out!
Branko Bistrovic
http://www.brushdreams.com/brankosfurnace.
swf
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Chapter 03
Slum City
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Chapter 03
Chapter 03
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Chapter 03
CHAPTER 04
Introduction
The aim of this tutorial is to tell you about some
tricks of the trade, and techniques to obtain
a good perspective and composition. These
tips should help you to be able to create an
attractive image and detail it quickly.
When thinking about this tutorial, my first
thought was to create a market or futuristic
bazaar scene that contained a commercial
center, and a zone full of shops and shoppers.
It was quite difficult though to think of an original
idea, because there is so much art dedicated to
science fiction and films like Star Wars, Aliens,
Avatar, Blade Runner, etc. It can be difficult
sometimes to paint something that hasnt been
done already.
Thus, to find the idea, I made several
drawings. I discarded the first two because
neither seemed convincing. Nevertheless I have
included one as an example so you can see the
searching process (Fig.01).
I started over again and made four new
sketches, but this time I did not give them color
or detail. I made thumbnails so I could see the
general idea better. I decided that I liked the
third option (Fig.02).
The Picture
Once I had chosen the thumbnail to develop,
I polished the idea and added more detail to
it. I then had to recreate the thumbnail at a
larger scale and in greater detail. To start with
I raised the vanishing points, and defined the
forms and structures by adding further detail. It
is important to maintain the correct perspective
and composition; to do this the first thing I do is
to define the horizon, as this depends on where
we are viewing the scene from. Depending on
where the horizon is located, what we will show
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Chapter 04
Chapter 04
Step by Step
Once the composition was ready, the next step
was light and shadow. When I work on an image
that has a degree of complexity, I do not add
any color until I have at least 60% of the detail
Textures
What I usually do with backgrounds to save time
is to draw a texture and repeat it several times
using Photoshop tricks. As an example to show
you how I do this I have drawn a basic structure
in perspective that leaks away to a single point.
Step 1: Draw a texture or design on any surface
of the drawing. In this example I have chosen
the end of the wall (Fig.9a).
Step 2: Once the texture is ready, mask it
and copy it to a new layer (Ctrl + C and Ctrl +
V), then press Ctrl + T. You will see that the
selected texture has a frame to allow you to
adjust the size of your texture. In the middle of
the frame you will find a circle with a cross in
the middle of it. Move that to the vanishing point
(Fig.09b).
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Chapter 04
Windows
Posters
Step 1: Draw a poster, or some kind of
Color
(Fig.12).
Conclusion
When it comes to making work for a client or
to sell, knowing how to compose the image
and use perspective correctly makes a big
difference.
It is very difficult for me to tell you step-by-step
how I created the final image. If I had to, I think
it would be very tedious for readers, so I did my
best to explain the most important steps. The
search for ideas, composition and perspective
were crucial to create an interesting image. I
hope you have liked this tutorial and can benefit
from it.
To have good ideas is what really matters.
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Chapter 04
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Chapter 04
Chapter 04
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Chapter 04
CITY AT SUNSET
CHAPTER 05
Introduction
Painting a sci-fi cityscape at sunset can be
challenging. There are a few aspects I have to
focus on for this image: the design, lighting, and
composition. For sci-fi pictures there is almost
no limit to the architectural designs and this
allows the exploration of some really interesting
shapes and designs, but its also important to
keep the structures believable and appealing.
A cityscape at sunset means I have to carefully
control the lighting so that it works for me. When
the sun is low and near to the horizon, the
sunlight becomes filtered and adds a fantastic
buildings.
Depth Establishment
Composition
image.
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Chapter 05
City at Sunset
Chapter 05
The Planet
I start to paint in a hazy planet in the far
background by adding a rim of light (Fig.05).
This gives the image an alien setting and again,
adds depth to the composition.
Buildings in Mid-ground
Now with the composition mostly in place, I start
to layer the buildings into the cityscape midground (Fig.06). I will keep the light direction in
mind when I define the buildings. Because of
the strong back light established in the image,
most of the buildings will only catch highlights
on the top and the side facing the light. Most
surfaces that face the camera wont have direct
lighting, so I will keep them dark and work on
the rim. I work mostly with a solid Hard Edge
brush for this piece. I have the pressure set to
Flow, so that it gives me enough control over the
blending and provides a really fast and opaque
rendering (Fig.07).
Building Details
It takes some time to define the mid-ground
buildings in detail. Under limited lighting
conditions its important not to over expose the
buildings, generally keeping it darker than the
light source in the background. I also decide to
Adjustments
more natural.
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Chapter 05
City Lights
In this step, Im going to bring the cityscape alive with neon lights and
windows (Fig.12). I crop parts from a photo of a city at night and take
advantage of the Color Dodge layer to create this effect. After I have
copied and pasted a section from a photo, I use the Curves editor to
darken the shadows, so that only the windows will show up in the image
(Fig.13). Then I switch the layer blending mode to Color Dodge; this will
allow a very nice glow from just the bright windows and eliminate any
black areas in the photo.
To the Finish
Before calling this piece finished, I make some adjustments to refine the
foreground elements, adding repeating shapes and trying to tie the image
together overall (Fig.14). I use a horizontal platform to help break up
shapes in the foreground, adding depth and definition.
I continue to fine-tune the windows and lights. I add some clouds and
mists for layering and with that Im going to call this piece done! Thank you
for reading, and I hope this tutorial helped you understand the process of
creating a sci-fi cityscape at sunset. Best of luck! (Fig.15).
Frank Hong
For more from this artist visit:
http://conceptartworld.com/?p=3043
Or contact them at:
frank.f.hong@gmail.com
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Chapter 05
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Chapter 05
CHAPTER 06
Introduction
Hello, everybody. Thanks a lot for 2dartist
magazine for allowing me to share some of my
workflow with its readers.
In this tutorial I am going to show how to create
a scene with some air traffic and skyscrapers.
Of course, before I start to draw or paint
something I try to think about the theme, and
to form some basic ideas in my mind. People
have seen enough of various cityscapes
with flying aircraft and cars in films like Star
Wars, Star Trek and other epic movies. I think
recreating these scenes would be unfair and
I wanted to create something a bit different,
but I was still unsure what exactly I wanted to
create. I think it is sometimes good to start with
some uncertainty because it can give some
unpredicted and pleasant results.
On the other hand, I wanted this tutorial to be
concentrated more on procedure of creation
Sketches
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Chapter 06
Chapter 06
more to learn.
Colors
a lot of effort!
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Chapter 06
Detail
By refining a bit more, I come up with this.
(Fig.08) I blocked the main skyscrapers and the
rest was detailing the picture to head towards
the final look. There are several ways that you
can do this. You could paint all those details,
or use photos and textures to imply the details.
Both ways are good.
I used some of my previous paintings to create
the details. (Fig.09 and Fig.10)
Why not? If Photoshop allows me to cut out
some regions of my previous paintings and
paste them into the new one, I will definitely go
ahead and do it, especially when it comes to
concept art, when everything has to be done in
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Chapter 06
Chapter 06
Jama Jurabaev
http://jamajurabaev.daportfolio.com/
jama_art@tag.tj
Conclusion
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Good luck,
Chapter 06
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